File:American painters- with eighty-three examples of their work engraved on wood (1879) (14790444883).jpg

Identifier: americanpainters00shel (find matches)
Title: American painters: with eighty-three examples of their work engraved on wood
Year: 1879 (1870s)
Authors: Sheldon, George William, 1843-1914
Subjects: Painters Painting, American
Publisher: New York : D. Appleton and company
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive

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the American So-ciety of Painters in Water-Colors, now the American Water-Color Society. Hewas elected its first president. For five years he held the position, havingbeen reelected each year, but resigned it iu 1871, on the occasion of his secondvisit abroad—this time to Switzerland, to Germany, to Northern Africa,and to Rome, as well as to Paris, to Madrid, and to Seville—staying four years,and being not less industrious than during his previous visit. The old townsin France, especially in Normandy, the old castles on the Rhine, and the fineold tombs in Algeria and the neighboring provinces, seem to have been hischief attractions. It is doubtful whether St. Peters itself made upon him sodeep an impression as did the cathedral at Caen, the castle at Andernach, orthe marvelous tomb of Sidi Bou Hac at Tlemcen. Two of these pictures theengraver has been extremely happy in reproducing. In one of them we seean ancient citadel rising in the perspective above the cross-crowned towers of
Text Appearing After Image:
A STREET SCENE IN CAEN, NORMANDY.From a Painting by Samuel Coltnan. p. 75. SAMUEL COLMAN. the cathedral on the left, and the sunny slopes of the mountain on the rightholding its castle in the air higher than the gleaming belt of light behind it,and casting its majestic and mantling protection upon the houses, the vesselsand the rippled, sparkling Rhine—a scene of glory and of peace. In the otherwe are introduced to rare old Norman architecture, and pleasing modernfestivity, the sun himself being pressed into service, and throwing a blaze oflight athwart the concourse of a thousand happy men and women, and theriehly-sculptiired cathedral-front. Duriug the last twelve years Mr. Colman has produced many more worksin water-colors than in oils, and his contributions have been among the strong-est, if not themselves the strongest, attractions of the Water-Color Societysannual exhibitions in the rooms of the National Academy of Design. Mostartists who paint exclusively in oils assume a pat

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